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HISTORY

The film's pre-release titles were Woman Against Woman and Nobody's Bride. Browning assumed the role of director when Harry Pollard became too ill to complete the filming. The film was remade by Universal in 1923 as Nobody's Bride, with Herbert Blaché directing (see AFI Catalog of Feature Films, 1921-30; F2.3867). According to Universal studio records, which contain information on both the 1918 and the 1923 films, Alice Catlin prepared a treatment of the story, and Albert Kenyon wrote a continuity. Kenyon's script was used for the 1923 film; it is unclear from contemporary sources if Catlin's treatment was used for either film. A modern source credits Catlin with the treatment for the 1918 film. ...

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The film's pre-release titles were Woman Against Woman and Nobody's Bride. Browning assumed the role of director when Harry Pollard became too ill to complete the filming. The film was remade by Universal in 1923 as Nobody's Bride, with Herbert Blaché directing (see AFI Catalog of Feature Films, 1921-30; F2.3867). According to Universal studio records, which contain information on both the 1918 and the 1923 films, Alice Catlin prepared a treatment of the story, and Albert Kenyon wrote a continuity. Kenyon's script was used for the 1923 film; it is unclear from contemporary sources if Catlin's treatment was used for either film. A modern source credits Catlin with the treatment for the 1918 film.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
ETR
22 Jun 1918
p. 199
MPN
15 Jun 1918
p. 3547
MPW
22 Jun 1918
p. 1762
MPW
14 Feb 1918
p. 934
Variety
14 Jun 1918
p. 29
Wid's
16 Jun 1918
pp. 25-26
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Harry Pollard
Dir
WRITERS
PHOTOGRAPHY
SOURCES
LITERARY
Based on the novelette "Nobody's Bride" by Evelyn Campbell in All-Story Weekly (publication date undetermined).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Titles:
Nobody's Bride
Woman Against Woman
Release Date:
10 June 1918
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Bluebird Photoplays, Inc.
6 June 1918
LP12494
Physical Properties:
Silent
Black and White
Length(in reels):
5
Country:
United States
SYNOPSIS

Doris Standish's father insists upon her marriage to aging millionaire Cyrus W. Hopkins, but just before the wedding, the young woman runs from the house and leaps into a parked car, ordering the chauffeur to drive her quickly away. The driver is Jimmy Nevin, who, because Hopkins financially ruined his father, has agreed to help a gang of crooks in their plot to steal the bride's jewels and wedding presents. Realizing that Doris is not Mary Butler, his accomplice, Jimmy offers to accompany her home, but when she refuses to return, he takes her to the thieves' hideout. Mary and her henchmen try to rob Doris, but she escapes and notifies the police. Doris, her father and Hopkins return to the hideout just before the police arrive to arrest all of the thieves but Jimmy, who has grown extremely fond of the runaway ...

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Doris Standish's father insists upon her marriage to aging millionaire Cyrus W. Hopkins, but just before the wedding, the young woman runs from the house and leaps into a parked car, ordering the chauffeur to drive her quickly away. The driver is Jimmy Nevin, who, because Hopkins financially ruined his father, has agreed to help a gang of crooks in their plot to steal the bride's jewels and wedding presents. Realizing that Doris is not Mary Butler, his accomplice, Jimmy offers to accompany her home, but when she refuses to return, he takes her to the thieves' hideout. Mary and her henchmen try to rob Doris, but she escapes and notifies the police. Doris, her father and Hopkins return to the hideout just before the police arrive to arrest all of the thieves but Jimmy, who has grown extremely fond of the runaway bride.

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GENRE
Genre:
Sub-genre:
Crime


Subject
Subject (Major):

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.